The invention concerns a resonance box for sound amplification of a string instrument acoustically connected therewith, in particular one which is supported by means of an end pin.
The need for sound amplification of this type is based on the hearing-psychological fact that high tones appear to be louder than middle or lower tones, at constant sound pressure, and therefore are more easily distinguished and more penetrating.
In the beginning of the 19th century the violoncello was no longer restricted to its former role of often simply being a general bass and accompanying instrument. It became increasingly used by composers as a solo instrument starting from the first sonatas with fortepiano (Beethoven, op. 5, composed 1796) up to the romantic solo concert with large orchestra (Dvorak, composed 1896). The solo repertoire largely included works with which the violoncello was utilized with piano or orchestra.
Known in the art of piano construction is the development from former softly sounding chamber musical instruments such as the square piano and the fortepiano up to the modern grand piano. With regards to wind instruments, either brass or woodwind, the choice of materials, acoustical research and modern production methods have likewise led to a significant amplification of the sound.
In contrast thereto, the string instruments of the violin family have not significantly changed for the last 400 years. Only the utilization of modern strings and the increased spring tension facilitated thereby in combination with a modification of the neck of the instrument has led to certain tonal changes.
The hearing-psychological fact mentioned above is advantageous largely for the violin. However, even the viola does not have the same strength. The cello and the double-bass occasionally require extreme sensitivity on the part of their musical partners.
Clearly, there is a small number of extremely high quality instruments made by Stradivari, Guarneri or Montagnana whose sound in all tonal regions can be considered to be extraordinarily large. These rare instruments, however, are extremely expensive, i.e. exceeding one-million-marks. In the middle price region cellists are often prepared to invest a hundred thousand marks and more for a good instrument, i.e. an instrument which not only sounds good but also has sufficient strength.
By means of the cello end pin upon which the cello (or the double-bass) is supported when being played, the vibrations of the instrument body are transferred practically without loss to the underlying structure. If the structure is constructed in such a fashion that it also vibrates, a significant hearable and feelable resonance effect is achieved which strengthens the sound of the cello (or the double-bass) precisely in the region in which the tonal spectrum is weak.
Concert halls and stages were formerly constructed from wood and had rather good resonance qualities. The increasingly larger and more modernly constructed halls of today made from steel, stone and concrete need to be filled with sufficient sound, but have stages which are often constructed in a fashion which is too solid to serve as an underlying resonance structure.
Concert organizers occasionally take this situation into consideration by providing podiums not only for conductors but also for instrumental soloists. Same are, however, not built according to acoustical criteria and do not satisfy the practical handling and storage requirements and therefore are not often found in concert halls.
It is therefore the underlying purpose of the invention to create a resonance box of the above mentioned type which facilitates a resonance effect which can be clearly heard and felt, and which amplifies the sound of the corresponding string instrument in that region in which the tonal spectrum is weaker.